Monsieur Camembert's interpretations traverse styles rarely if ever associated with Cohen, including Hot Swing, free-jazz, tango, latin, klezmer etc etc. So what prompted Camembert to do Cohen? Yaron Hallis, leader of the group, explains for years our most requested song has been Cohens Dance Me To The End Of Love, and many fans have suggested we do a whole night of Cohen. Its quite thrilling to finally take on this body of material, and be joined by guest singers I so greatly admire, who on the most cerebral and instinctive level, connect with and interpret his songs with such raw beauty there are lots of Australian singers I was tempted to approach for the show, but very few had the quality in their voice that I felt was especially suited to interpret his music. With Cohen, absolutely every word counts, and for the material to really work, there has to be vulnerability, sensuality and complete emotional truth.

We all take quick shots of the world around us—but shooting truly exceptional images with your iPhone requires a little more care. It forces you to slow down, observe the moment more deeply, and apply your artistic eye to capturing the true essence of the scene before you.

When outlaw Suzy Spitfire discovers her father was murdered after creating a super-duper artificial intelligence, she races across the solar system in search of the brain he built—but it’s a rough ride, and she’s soon forced to tangle with pirates, predators, and her father’s killer—as well as a man she thinks she can love. Suzy Spitfire Kills Everybody is a smash-bang sci-fi adventure filled with action, intrigue, and a dose of dark humor.

The present recording especially concentrates on works by Johann Sebastian Bach in minor keys; these are contrasted by four works in major keys. The general perception is that minor-key works frequently emanate a certain sadness as their fundamental emotion. Bach, on the other hand, repeatedly develops in his minor-key compositions – particularly in the organ works - an unsurpassed elegance out of the melancholy depths, as Joseph Kelemen impressively proves at the Treutmann Organ of the Grauhof Monastery Church.

After the Buffalo Springfield imploded, Neil Young recorded his first, eponymous solo album, an elaborately overdubbed affair that cast him in the role of brooding singer-songwriter. But soon after that record was released, in January 1969, Young began jamming in Los Angeles with a band called the Rockets, redubbed Crazy Horse, and started a relationship that would change guitar rock forever and form the foundation of his career. If Neil Young had an aura of careful subtlety bordering on tentativeness, Everybody Knows This Is Nowhere felt raw, rushed, energized. Indeed, Young dashed off the album’s three central songs — “Cinnamon Girl,” “Down by the River” and “Cowgirl in the Sand” — in a single fever-addled afternoon, and Young and the band play with an almost reckless disregard for prettiness, precision, clarity.

In Would Everybody Please Stop?, a collection of first-person essays and humor pieces, Jenny Allen asks the tough questions: Why do people say "it is what it is"? What's the point of fat-free half-and-half? Why don't the women detectives on TV carry purses, and where are we supposed to think they keep all their stuff? And haven't we heard enough about memes?

Digitally remastered two CD set containing a pair of albums from the British Blues/Rock drummer and his band. These albums, released in 1970 and 1972 on the Fontana and Vertigo labels, show a change in direction from their first two albums. With guitarist Dave Kelly replaced by Nick Pickett, the band moved slightly away from their original blues roots, but didn't really find the commercial success they deserved.